Integrated creative studio Mixtape Club has brought Sallie Moore aboard as executive producer, music, and Eric Korte as head of production, music and sound. The hires round out a company expansion that also includes doubling its studio space and merging with the composers collective Huma-Huma, which has become the Mixtape Club music department.
Moore and Korte will fill complementary roles which Mixtape Club established in order to bolster and expand its music and sound operation. Moore joins following a decade as EP at sound company The Lodge Music. She will be at the helm of client relations and business development, for both original music and licensing from the Huma-Huma Catalog. Meanwhile, Korte, formerly music director at Saatchi & Saatchi, will shepherd clients through the music production and selection process.
“Our roster of clients and portfolio of work have grown quite diverse through the years,” said Mixtape Club partner/executive creative director Chris Lenox Smith. “Meanwhile, we’ve built up our staff and even our physical infrastructure to keep the quality of work on par with our growth. Knowing we were primed for the next big leap as a company, particularly with our music and sound side, the logical next step was to bring on senior talent of Eric and Sallie’s caliber.”
During her tenure at The Lodge Music, Moore was instrumental in the growth of the company, which now licenses and creates original music worldwide. Meanwhile, she helped realize an array of noteworthy campaigns and content for clients such as Mercedes-Benz, Norwegian Cruise Lines, Hershey’s Kisses, Humana, and Minute Maid. Moore’s extensive music industry career took off at Grey Worldwide as music producer. For the past four years, she has also served as the New York chapter president of the Association of Music Producers (AMP), an AICP-affiliated trade organization for commercial music production companies.
“Mixtape Club’s ability to tell a story through animation, original music–even their catalog–is unique,” remarked Moore. “I immediately bought into their artistic vision, specifically the storytelling aspect, which I believe is at the core of all great advertising. Combining these elements in innovative ways is part of the buzz Mixtape Club is going to generate industry-wide.”
Korte, too, will enlighten how Mixtape Club engages and collaborates with commercial clients. As the roles of commercial producers have become increasingly business-driven, he is especially keen on being more involved in the creative process as a musician himself.
“I’ve always been pretty hands-on as a music producer,” said Korte, who has music directed campaigns with Linda Ronstadt, Michael McDonald, Cyndi Lauper, Ry Cooder and many other acclaimed artists over the years. “The technical aspects of music can be very intimidating to the non-musician, so my role as translator is critical. I pride myself on being able to communicate with not only account execs, but also composers and musicians in a way that’s effective and meaningful to them.”
Prior to embarking on his 25+ year advertising career, Korte studied composition and music theory in college, followed by several years working in a recording studio. During his tenure at Saatchi & Saatchi, he brought innumerable campaigns to life through music and sound for legacy brands, such as Miller, Walmart, Tide, Pampers, Olay, and Cheerios. He played a role in virtually every spot that led to Saatchi & Saatchi’s prestigious Cannes Lion Agency of the Year honor (2007), as well as a Silver Lion for JCPenney’s “Aviator” campaign (2008).
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More